New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-11-06
4 TALK WITH IRVING.
HIS PLAN FOR A SAFE THEATRE.

Mr. Irving had Just ended one of his long rchoarsals
Of Faust" when a reporter fortunate enough to
lind him in the bright but sorewh hat crowded Office Of
tho Star Theatre the Thirccnhst side. The walls
adorned with samples OF the printing of Faust
Largo trunks and basket. containing tickets, notice
and books, and other ncccssHsics of manage
mcnt stood against the walls. AT desk, Mr. {. r.
lOwsOn. the advance agent cndcavOring TO I'll
the written orders for tickets which by mali
almost faster than they be attended To- at another
Mr. Bran StOher the business manager. wIcstlei with
twenty problems in twenty hafmlnues and succeeded
in throwing them all. Messengers TO and from the box
Office the stage manager the property and other
employees kept arriving and departing With almost be-
wildcrng rapidity, yet every move and instruction
showed tic admirable order and $. stem with witch
both tie stage and business del ais of the organization
conducted.
81 have, naturally, been kept very busy ever since
my arrival" said Mr. Irving Mot only have | many
KIND and dear nicndS here that want to soc and Who
want to but the time for rchcarsals and prep
ara ions for Faust has been shot. There having
been extra matinee this week has little curtaile'l
onr time. still l the Last Icrsol to mind this
when my little loss means tie gain TO 50 many In the
procession of being able to the fine acting OF
Mr. Jefferson and Mrs. Drew in "Tho Rivals. v
Young actors do not at the present day have enough
opportunities of seeing good models have Deem urging
at home the r,-e>t abllshmcnt in those ana olhei
Of our large cities of stock companies what you
call the combination system has spread a. r"p"n III
England a. here London Is now the only city hat mas
stock companies This IS, of course, great dcrimeh'
and hindrancc TO those who beginning Their pro
tessIon- Work In combination, which means
the constant repetition or Jne part, Is Hlue IhcS
TO mako actors II Is practice, pracucc,
practice that the actor needs. The gl't OF what
| said In advocating the rNestabllshncnt OF
stock theatres that In intellectual germany
the theatre Is part of re daily Iii" and rcrc"'n Oh
the people, and is largely supported by tho o'a'o'
Further sad / 90 not doubt that by ana Dye every
great city will have its own theatre bnit oy us hu
ncipaliiy, its management enTusted't to competent
lessee. such theatre "Ouiu " I" 80" "V'' - 49,
public.
1T was continued Mr.. living, Gin the hope OF
their being OF ultimate in tie construction of Suel
theatres that hal the pans made, when "er" +"
Gently published IN London and gwen 10 II" pu'''o'
had long given the idca of erecting theatre that
should be a. neatly safe az possible, my 'ar0ui d.
tentor though had intention Of building ono HS
self The architect ami had marJ meetings ana con-
vcrsatons which resulted You have heard. The the
atr, would have passage ways cacn side with doors
giving access directly to the different parts OF mo
house There would also 10 hIOal central Also
a. in most Of your American theatres. The hOor o.
the auditorium would widen gradually from the stage
10 the back wal. and would therefore be something
like the segment Of a circle of which tho point hal
bcen cut Of on. Of the chief innovations Is the
pacIng Of the gallery on the ground foor at the BACK
Of the pit Il Is true. It's occupants woud pe luru'r
from tho stage than those occupying wv
first few rows OF existing galleries. o"'
they would obtain think more than
s,ontnr advantage In having no stairs to climb
and in being able 10 500 the performers from almost
a level point Of vicw instead OF having to look do"n
ON them In way that causes considerable oreNhoH'h
ing This is about sectional view Of ue analtoLIul: